Part 11

Now, ascending by the most commodious staircase to the Great Hall, where the principal and most important festivities and the principal banquet of the nuptials were celebrated (forbearing to speak of the magnificent and stupendous ceiling, marvellous in the variety and multitude of the rare historical paintings, and marvellous also in the ingenuity of the inventions, in the richness of the partitions, and in the infinite quantity of gold with which the whole is seen to shine, but most marvellous in that it has been executed in an incredibly short time by the industry of a single painter; and treating of the other things pertaining only to this place), I must say that truly I do not believe that in these our parts we have any information of any other hall that is larger or more lofty; but to find one more beautiful, more rich, more ornate, or arranged with more convenience than that hall as it was seen on the day when the comedy was performed, that I believe would be absolutely impossible. For, in addition to the immense walls, on which with graceful partitions, and not without poetical invention, were seen portrayed from the reality the principal squares of the most noble cities of Tuscany, and in addition to the vast and most lovely canvas painted with various animals hunted and taken in various ways, which, upheld by a great cornice, and concealing the prospect-scene, served so well as one of the end-walls, that the Great Hall appeared to have its due proportions, such, in addition, and so well arranged, were the tiers of seats that ran right round, and so lovely on that day the sight of the handsome ladies who had been invited there in great numbers from among the most beautiful, the most noble, and the richest, and of the many lords, chevaliers, and other gentlemen who had been accommodated above them and throughout the rest of the room, that without a doubt, when the fantastic lights were lit, at the fall of the canvas described above, the luminous prospect-scene being revealed, it appeared in truth as if Paradise with all the Choirs of the Angels had been thrown open at that instant; which illusion was increased marvellously by a very soft, full, and masterly concert of instruments and voices, which very soon afterwards was heard to come forth from that direction. In that prospect-scene the most distant part was made to recede most ingeniously along the line of the bridge, terminating in the end of the street that is called the Via Maggio, and in the nearest part was represented the beautiful street of S. Trinita; and when the eyes of the spectators had been allowed to sate themselves for some time with that and the many other marvellous things, the desired and welcome beginning was made with the first interlude of the comedy, which was taken, like all the others, from that touching story of Psyche and Cupid so delicately narrated by Apuleius in his Golden Ass. From it were taken the parts that appeared the most important, and these were accommodated with the greatest possible dexterity to the comedy, so that, having made, as it were, an ingenious composition from the one fable and the other, it might appear that what the Gods did in the fable of the interludes was done also by mankind in the fable of the comedy, as if constrained by a superior power. In the hollow sky of the above-named prospect-scene, which opened out all of a sudden, there was seen to appear another sky contrived with great artifice, from which was seen issuing little by little a white and very naturally counterfeited cloud, upon which, with an effect of singular beauty, a gilded and jewelled car appeared to be resting, recognized as that of Venus, because it was drawn by two snow-white swans, and in it, as its mistress and guide, could be perceived likewise that most beautiful Goddess, wholly nude and crowned with roses and myrtle, seated with great majesty and holding the reins. She had in her company the three Graces, likewise recognized by their being shown wholly nude, by their blonde tresses, which fell all loose over their shoulders, and even more by the manner in which they were standing linked hand to hand; and also the four Hours, who had the wings all painted after the likeness of butterflies, and, not without reason, were distinguished in certain particulars according to the four seasons of the year. Thus one of them, who had the head and the buskins all adorned with various little flowers, and the dress of changing colours, was intended to represent the varied and flowering Spring; even as the second, with the garland and the buskins woven of pale ears of corn, and the yellow draperies wherewith she was adorned, was intended to signify the heat of Summer, and the third, representing Autumn, and all clothed in red draperies, signifying the maturity of fruits, was seen likewise all covered and adorned with those same fruits, vine-leaves, and grapes; and the fourth and last, who represented the white and snowy Winter, besides her dress of turquoise-blue all sprinkled with flakes of snow, had the hair and the buskins likewise covered with similar snow, hoar-frost, and ice. And all, as followers and handmaidens of Venus, being grouped around the car on the same cloud with singular artistry and most beautiful composition, were seen--leaving behind them Jove, Juno, Saturn, Mars, Mercury, and the other Gods, from whom appeared to be issuing the soft harmony described above--to sink gradually with most beautiful grace towards the earth, and by their coming to fill the scene and the whole hall with a thousand sweet and precious odours; while from another part, with an aspect no less gracious, but appearing to walk on earth, was seen to come the nude and winged Cupid, likewise accompanied by those four Passions that seem so often to be wont to disturb his unrestful kingdom; Hope, namely, all clothed in green, with a little flowering branch on the head; Fear, recognized, in addition to his pale garment, by the rabbits that he had on his hair and his buskins; Joy, likewise clothed in white and orange and a thousand glad colours, and with a plant of flowering borage on the hair, and Sorrow, all in black and in aspect all weeping and sad; of whom, as his ministers, one carried the bow, another the quiver and the arrows, another the nets, and yet another the lighted torch. And while the above-described Hours and Graces, having descended from the cloud, went slowly towards their mother's car, now arrived on earth, and, having grouped themselves reverently in a most graceful choir around the lovely Venus, seemed all intent on singing in harmony with her, she, turning towards her son with rare and infinite grace, and making manifest to him the cause of her displeasure, when those in Heaven were silent, sang the two following stanzas, the first of the ballad, saying:

A me, che fatta son negletta e sola, Non piu gli altar ne i voti, Ma di Psiche devoti A lei sola si danno, ella gl' invola;

Dunque, se mai di me ti calse o cale, Figlio, l' armi tue prendi, E questa folle accendi Di vilissimo amor d' uomo mortale.

Which being finished, and each of her handmaidens having returned to her own place, while they kept continually throwing down various delicate and lovely garlands of flowers upon the assembled spectators, the cloud and the car, as if the beautiful guide had satisfied her desire, were seen to move slowly and to go back towards the heaven; and when they had arrived there, and the heaven was closed again in an instant, without a single sign remaining from which one might have guessed by which part the cloud and so many other things had come forth and returned, everyone, it appeared, was left all amazed with a sort of novel and pleasing marvel. But the obedient Cupid, while that was being done, making a sign, as it were, to his mother that her command would be fulfilled, and crossing the stage, continued--with his companions, who were presenting him his arms, and who, likewise singing, kept in harmony with him--the following stanza, the last, saying:

Ecco madre, andiam noi; chi l' arco dammi? Chi le saette? ond' io Con l' alto valor mio Tutti i cor vinca, leghi, apra, ed infiammi.

And he, also, as he sang this, kept shooting arrows, many and various, at those listening to him, whereby he gave reason to believe that the lovers who were about to perform their parts, stung, as it were, by them, were giving birth to the comedy about to follow.

SECOND INTERLUDE.

The first act being finished, and Cupid having been taken in his own snare--at the moment when he thought to take the lovely Psyche--by reason of her infinite beauty, it became necessary to represent those mysterious voices which, as may be read in the fable, had been intended by him to serve her; and so there was seen to issue by one of the four passages that had been left on the stage for the use of the performers, first a little Cupid who was carrying in his arms what seemed to be a graceful swan, with which, since it concealed an excellent bass-viol, while he appeared to be diverting himself with a wand of marsh-grass that served him as a bow, he proceeded to play most sweet airs. After him, four others were seen to come at one and the same moment by the four passages of the stage already described; by one the amorous Zephyr, all merry and smiling, who had wings, garments, and buskins woven of various flowers; by another Music, known by the tuning instrument that she had on the head, by her rich dress covered with her various instruments and with various scrolls wherein were marked all her notes and all her times, and even more because she likewise was seen playing with most sweet harmony upon a great and beautiful lyra-viol; and by the other two, also, Play and Laughter were seen to appear in the form of two little Cupids, playing and laughing. After these, while they were going on their way to their destined places, four other Cupids were seen to issue by the same passages, in the same guise, and at the same time, and to proceed likewise to play most graciously on four most ornate lutes; and after them four other similar little Cupids, two of whom, with fruits in their hands, were seen playing together, and two seemed to be seeking to shoot one another in the breast with their bows and arrows, in a quaint and playful fashion. All these gathered in a graceful circle, and, singing in most harmonious concert the following madrigal, with the lutes and with many other instruments concealed within the scenery accompanying the voices, they appeared to make this whole conception manifest enough, saying:

O altero miracolo novello! Visto l' abbiam! ma chi sia che cel creda? Ch' amor, d' amor ribello, Di se stesso e di Psiche oggi sia preda? Dunque a Psiche conceda Di belta pur la palma e di valore Ogn' altra bella, ancor che pel timore Ch' ha del suo prigionier dogliosa stia; Ma seguiam noi l' incominciata via, Andiam Gioco, andiam Riso, Andiam dolce armonia di Paradiso, E facciam che i tormenti Suoi dolci sien co' tuoi dolci concenti.

THIRD INTERLUDE.

Not less festive was the third Interlude, because, as is narrated in the fable, Cupid being occupied with the love of his beautiful Psyche, and not caring any more to kindle the customary flames in the hearts of mortals, and using with others, as others with him, fraud and deceit, it was inevitable that among those same mortals, who were living without love, there should arise at the same time a thousand frauds and a thousand deceits. And therefore it was made to appear that the floor of the stage swelled up, and finally that it was changed into seven little mounds from which there were seen to issue, as things evil and hurtful, first seven Deceits, and then seven others, which could be recognized as such with ease, for the reason that not only the bust of each was all spotted, after the likeness of a leopard, and the thighs and legs like serpents, but their locks were seen all composed of malicious foxes in most fantastic forms and very beautiful attitudes; and in their hands, not without laughter from the bystanders, some were holding traps, some hooks, and others guileful crooks and grapnels, under which had been concealed with singular dexterity some musical serpents, for the sake of the music that they had to make. These, expressing thus the conception described above, after they had first most sweetly sung, and then sung and played, the following madrigal, went with very beautiful order (providing material for the deceptions of the comedy) their several ways along the four above-mentioned passages of the stage:

S' amor vinto e prigion, posto in oblio L' arco e l' ardente face, Della madre ingannar nuovo desio Lo punge, e s' a lui Psiche inganno face, E se l' empia e fallace Coppia d' invide suore inganno e froda Sol pensa, or chi nel mondo oggi piu sia Che 'l regno a noi non dia? D' inganni dunque goda Ogni saggio, e se speme altra l' invita Ben la strada ha smarrita.

FOURTH INTERLUDE.

Now, deceits giving rise to affronts, and affronts to dissensions and quarrels and a thousand other suchlike evils, since Cupid, by reason of the hurt received from the cruel lamp, was not able to attend to his customary office of inflaming the hearts of living mortals, in the fourth interlude, in place of the seven mounds that had been shown on the stage the time before, there were seen to appear in this one (to give material for the disturbances of the comedy) seven little abysses, from which there first came a black smoke, and then, little by little, was seen to appear Discord with an ensign in the hand, recognized, besides her arms, by the torn and varied dress and by the tresses, and with her Rage, also recognized, besides the arms, by the buskins in the form of claws, and by the bear's head in place of a helmet, from which poured a constant stream of smoke and flame; and Cruelty, with the great scythe in her hand, known by the helmet in the likeness of a tiger's head and by the buskins after the manner of the feet of a crocodile; and Rapine, also, with the pruning-hook in her hand, with the bird of prey on the helmet, and with the feet in the likeness of an eagle; and Vengeance, with a bloody scimitar in the hand, and with buskins and helmet all woven of vipers; and two Anthropophagi, or Lestrigonians, as we would rather call them, who, sounding two trombones in the form of ordinary trumpets, appeared to be seeking with a certain bellicose movement (besides the sound) to excite the audience of bystanders to combat. Each of these was between two Furies, horrible companions, furnished with drums, whips of iron, and various arms, beneath which with the same dexterity had been hidden various musical instruments. The above-named Furies could be recognized by the wounds wherewith their whole persons were covered, from which were seen pouring flames of fire, by the serpents with which they were all encircled and bound, by the broken chains that hung from their legs and arms, and by the fire and smoke that issued from their hair. And all these, having sung the following madrigal all together with a certain fiery and warlike harmony, performed in the manner of combatants a novel, bold, and most extravagant Moorish dance; at the end of which, running here and there in confusion about the stage, they were seen finally to take themselves in a horrible and fearsome rout out of the sight of the spectators:

In bando itene, vili Inganni; il mondo solo ira e furore Sent' oggi; audaci voi, spirti gentili, Venite a dimostrar vostro valore; Che se per la lucerna or langue amore, Nostro convien, non che lor sia l' impero. Su dunque ogni piu fero Cor surga; il nostro bellicoso carme Guerra, guerra sol grida, e solo arm', arme.

FIFTH INTERLUDE.

Poor simple Psyche, having (as has been hinted in the last interlude) injured her beloved spouse with the torch by her rash and eager curiosity, and being abandoned by him, and having finally fallen into the hands of angry Venus, provided most convenient material for the fifth and most sorrowful interlude, accompanying the sadness of the fourth act of the comedy; for it was feigned that she was sent by that same Venus to the infernal Proserpine, whence she should never be able to return among living creatures. And so, wrapped in despair and very sad, she was seen approaching by one of the passages, accompanied by hateful Jealousy, who had an aspect all pallid and afflicted, like her other followers, and was known by the four heads and by the dress of turquoise-blue all interwoven with eyes and ears; by Envy, known likewise by the serpents that she was devouring; by Thought, Care, or Solicitude, whichever we may choose to call her, known by the raven that she had on the head, and by the vulture that was tearing her entrails; and by Scorn, or Disdain (to make it a woman's name), who could be recognized not only by the owl that she had on the head, but also by the ill-made, ill-fitting and tattered dress. When these four, beating and goading her, had made their way near the middle of the stage, in an instant the ground opened in four places with fire and smoke, and they, as if they sought to defend themselves, seized hold of four most horrible serpents that were seen without any warning to issue from below, and struck them a thousand different blows with their thorny staves, under which were concealed four little bows, until in the end, after much terror in the bystanders, it appeared that the serpents had been torn open by them; and then, striking again in the blood-stained bellies and entrails, all at once there was heard to issue--Psyche singing the while the madrigal given below--a mournful but most delicate and sweet harmony; for in the serpents were concealed with singular artifice four excellent bass-viols, which, accompanying (together with four trombones that sounded behind the stage) the single plaintive and gracious voice of Psyche, produced an effect at once so sad and so sweet, that there were seen drawn from the eyes of more than one person tears that were not feigned. Which finished, and each figure having taken her serpent on her shoulders, there was seen, with no less terror among the spectators, a new and very large opening appearing in the floor, from which issued a thick and continuous stream of flame and smoke, and an awful barking was heard, and there was seen to issue from the hole the infernal Cerberus with his three heads, to whom, in accordance with the fable, Psyche was seen to throw one of the two flat cakes that she had in her hand; and shortly afterwards there was seen likewise to appear, together with various monsters, old Charon with his customary barque, into which the despairing Psyche having entered, the four tormentors described above kept her unwelcome and displeasing company.

Fuggi, speme mia, fuggi, E fuggi per non far piu mai ritorno; Sola tu, che distruggi Ogni mia pace, a far vienne soggiorno, Invidia, Gelosia, Pensiero e Scorno Meco nel cieco Inferno Ove l' aspro martir mio viva eterno.

LAST INTERLUDE.

The sixth and last interlude was all joyous, for the reason that, the comedy being finished, there was seen to issue in an instant from the floor of the stage a verdant mound all adorned with laurels and different flowers, which, having on the summit the winged horse Pegasus, was soon recognized to be the Mount of Helicon, from which were seen descending one by one that most pleasing company of little Cupids already described, and with them Zephyr, Music, and Cupid, all joining hands, and Psyche also, all joyful and merry now that she was safe returned from Hell, and that by the prayers of her husband Cupid, at the intercession of Jove, after such mighty wrath in Venus, there had been won for her grace and pardon. With these were Pan and nine other Satyrs, with various pastoral instruments in their hands, under which other musical instruments were concealed; and all descending from the mound described above, they were seen bringing with them Hymen, God of nuptials, in whose praise they sang and played, as in the following canzonets, and performed in the second a novel, most merry and most graceful dance, giving a gracious conclusion to the festival:

Dal bel monte Elicona Ecco Imeneo che scende, E gia la face accende, e s' incorona; Di persa s' incorona. Odorata e soave, Onde il mondo ogni grave cura scaccia. Dunque e tu, Psiche, scaccia L' aspra tua fera doglia, E sol gioia s' accoglia entro al tuo seno. Amor dentro al suo seno Pur lieto albergo datti, E con mille dolci atti ti consola. Ne men Giove consola Il tuo passato pianto, Ma con riso e con canto al Ciel ti chiede. Imeneo dunque ognun chiede, Imeneo vago ed adorno, Deh che lieto e chiaro giorno, Imeneo, teco oggi riede! Imeneo, per l' alma e diva Sua Giovanna ogn' or si sente Del gran Ren ciascuna riva Risonar soavemente; E non men l' Arno lucente Pel gratioso, inclito e pio Suo Francesco aver desio D' Imeneo lodar si vede. Imeneo ecc. Flora lieta, Arno beato, Arno umil, Flora cortese, Deh qual piu felice stato Mai si vide, mai s' intese? Fortunato almo paese, Terra in Ciel gradita e cara, A cui coppia cosi rara Imeneo benigno diede. Imeneo ecc. Lauri or dunque, olive e palme E corone e scettri e regni Per le due si felici alme, Flora, in te sol si disegni; Tutti i vili atti ed indegni Lungi stien; sol pace vera E diletto e primavera Abbia in te perpetua sede.

And all the rich vestments and all the other things, which one might think it impossible to make, were executed by the ingenious craftsmen with such dexterity, loveliness and grace, and made to appear so natural, real, and true, that it seemed that without a doubt the real action could surpass the counterfeited spectacle by but a little.

OF THE TRIUMPH OF DREAMS AND OTHER FESTIVITIES.